Firstly, welcome back – or more accurately – it’s good to be back. I’ve been in Savannah the past week on R & R. I won’t get into it other than to say it’s as gorgeous as in Midnight in the Garden of Good and Evil.
Anyway, in my absence, the Maha Music Festival announced a “surprise summer showcase” taking place tomorrow afternoon from 5 to 6:30 p.m. at 8th and Farnam downtown (right near the dog park and the Jun Kaneko giant head). Now I wonder why they chose that location? The fun will include a live set from Little Brazil and DJ Crabrangucci. LB, btw, played the first-ever Maha festival back in 2009.
Stand ready for some special announcements about the future of Maha. Head downtown tomorrow and find out. The whole dang thing is free.
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Sacramento garage rock duo Dog Party usually plays at O’Leaver’s when they’re in town. Tonight they’re headlining at Reverb Lounge and recent recordings reflect a shift in their sound in some new directions. Also on the bill are CatBeret and Ragdoll. $17, 8 p.m.
The Astro Amphitheater in La Vista is still being constructed but that isn’t stopping it from announcing the first slate of shows for its new live performance complex located at 8302 City Center Drive in beautiful La Vista.
The facility’s details you already know: 2,400-capacity 52,000-square-foot indoor theater (The Astro) attached to an outdoor grass amphitheater that can host 5,500 attendees (The Astro Amphitheater). Mammoth, Inc., out of Kansas City and 1% Productions manage the facility’s bookings. If you follow them on the socials or their new website, you’ve already heard who will be among the first bands playing at the Astro:
Aug. 30 — Rick Springfield, The Hooters, Paul Young and Tommy Tutone, outdoors
Sept. 16 — Beth Hart, inside
Sept. 21 — Ancient Aliens Live, inside
Sept. 23 — Goo Goo Dolls and Fitz & the Tantrums, outdoors
Sept. 24 — Kenny Wayne Shepherd Band, inside
Sept. 30 — The Gaslight Anthem, inside
Oct. 5 — Dropkick Murphys, The Interrupters and Jesse Ahern, outdoors
Carmen Stalker from Mammoth said the Astro will “have a wide range of musical genres, including rock, alt rock, country, bluegrass, and more.” I’m trying to line up an interview with whomever will be the facility’s primary booker for a story similar to what I wrote about Steelhouse, here.
Like Steelhouse, it may be too early to say what kind of bands The Astro will book, though if this initial lineup is any indication, I have a feeling they might be after the same sort of bands that Stir Cove traditionally has booked. Stir is handled by Live Nation, and the last show I attended there was Beck way back in September 2017. Time will tell.
By the way, Astro has yet to announce its “grand opening” festivities. You’d think, like Steelhouse, who sort of seems to be among their chief competition, they’ll want to start off with a bang, like their sold out Killers show. Hold onto your hats.
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Tim Kasher of Cursive performing at Sokol Underground June 3, 2000.
Speaking of sold out shows, tonight at The Waiting Room its Cursive performing Domestica in its entirety. Hard to believe that album came out 23 years ago. If the show follows the same set list the band played last weekend in Dallas and Austin, expect the performance to be broken into four parts, with an initial set of three songs, followed by Domestica, then a set of five songs followed by an encore. That’s a long-ass show.
Opening is Neva Dinova, which appears to consist of members of Cursive joining Jake Bellows, but this being Omaha, anything could happen. This one’s been sold out for a long time – even your poor, lowly scribe didn’t manage to get a ticket. If you’re going, the fun starts at 8 p.m.
In case it slipped your mind, The Killers are from “fabulous Las Vegas” and they’ll never let you forget it.
Frontman / telethon host Brandon Flowers reminded the crowd multiple times throughout Friday night’s set at the grand opening of Steelhouse Omaha, strutting across the enormous stage in a purple tux jacket, leading the confetti-covered crowd through a tight, well-choreographed evening of fist-pump anthems.
But before I get to that, first Steelhouse Omaha itself. Located at 11th and Dodge St. only a stone’s throw from the Holland Performing Arts Center, the new facility is destined to become a landmark for live music. From the ground up, it is an ultra-modern concert hall that appears to have erupted right out of the concrete in downtown Omaha.
Announced at the height of COVID in November 2019, many thought it could be a fool’s dream — no one knew what was going to happen with the pandemic. At the same time, it was a beacon of hope, assurance that somehow we’d get through all this sickness and death, that Omaha Performing Arts and its patrons must know something or they wouldn’t commit north of $110 million in a new facility designed to host a crowd like a herd of cattle, standing shoulder-to-shoulder in a windowless, confined hall – the absolute last place you’d want to be in the middle of an airborne-spread pandemic.
Yet, here we were, three-and-a-half years later, Covid all but eradicated, waiting to dive head-first into a maskless crowd. Ain’t humanity amazing?
I arrived at around 7:15 and stood in the short queue to get in. The first checkpoint was an ID check for an alcohol wristband, located outside the facility. Through the door and some sort of high-tech metal detector (no need to empty your pockets), I made a beeline to the box office, where my ticket was waiting in will-call. Most older box offices have multiple windows – this was one walk-up hole in the wall, which made me think they must really want to sell advance tickets because if they ever have a large walk-up crowd, this small ticket window would be a challenge (and you know what they say — Omaha is a walk-up city).
From there, it was right into the venue. Booking The Killers – a band that usually plays 20,000-seat arenas — was like learning to swim by being tossed into a deep, dark lake. I guess if you’re going to pressure-test the system, do it right out of the box. To their credit, Steelhouse passed the hospitality portion of the test with flying colors, thanks to a massive phalanx of smiling, crew-shirted staff at every turn (reminding me of the Maha Festival, whose success has floated on its own massive volunteer staff). No gruff, overworked bouncers here, these folks all looked like they were having a good time.
The lobby held a large merch area and bar, then through the doors on your right and you entered the enormous main hall cram-packed with T-shirt-clad fans holding plastic cups. Stairs on either side were well-guarded to keep riff-raff without club tickets (like me) from going upstairs.
Bars (concessions) were built into the walls on either side of the hall, and in back – seemed like they were everywhere. Even with a sold-out crowd, I had no problem buying my $13 pint of wheat beer. All purchases are cashless, so grab your credit card and ID and leave your wallet at home.
With my beer in hand, this was when things got tricky. The main floor was already crush-filled. I stepped into the mass of humanity a couple times just to check out the sight-lines. Instead of being sloped, the main, standing-floor area seemed flat, but the stage was raised high enough that sightlines would only be a problem for the most height-challenged.
Somehow, I ended standing on one of the elevated decks along stage right, where I noticed a guy manning what looked like a battery of T-shirt cannons.
“Confetti cannons?” I asked. He nodded, smiling. “When will those go off? At the beginning? At the end?”
“All night,” the guy said. “The Killers love their confetti.”
The Killers at Steelhouse Omaha, May 12, 2023.
We all discovered this shortly after 8 p.m. when the band took the stage and – bamf! — off went the cannons in a glittering cloud of paper as the Killers slammed into their opening number, “My Own Soul’s Warning.” And the crowd, as they say, went nuts.
It’s here that I should tell you I’m not a fan of The Killers. I think their music is fine if not a bit generic and by-the-numbers for my personal taste. With their hooks and their sing-along choruses, I understand why the mostly older crowd loved them. Frontman Flowers has a stage presence that seems to emote “We’re here all week with two shows a day on weekends,” ticking off the hits the fans so desperately want to hear.
The room sounded overall pretty good, if a bit tinny and oversaturated on the high end. Volume was even throughout the entire facility. The arsenal of lighting was impressive, as was the giant backdrop video that augmented every song, as if The Killers had brought a Las Vegas stage show to Omaha (because they sort of did).
Problems began when I turned around to make my way to the back of the room. There were no walk-throughs and people were smashed all the way across the aisles, requiring that I shoulder my way against the current of flesh. Still, I never really felt trapped. The main auditorium is designed with large exit doors that open into a secondary lounge where the bathrooms are located, which then exits into a large patio area — both nice touches and areas to escape to when you feel overwhelmed by the sound and noise.
Sunday I went to the Steelhouse Open House to get a look at the facility without all the people, and yes, it does feel rather sterile in the cold light of day. But you go for the rock show, not the feng shui.
Flowers and Co. slammed through one song after the next, never slowing down and only briefly acknowledging that they had the honor of playing the grand opening. “We’ve been asked to christen The Steelhouse,” Flowers yelled. “Usually we’re asked to blow the roof off the place!”
Yeah! the crowd roared, and then they fired right into one of their more lyrically in-ept songs, “Human,” with the robot chorus, “Are we human or are we dancer?” (sic). Lots of air punches ensued.
Later in the set, Flowers brought the vibe down. “We usually play larger rooms than this,” he said. “This next song is perfect for this room. We made a Bright Eyes record during Covid called Pressure Machine. Wherever Conor is tonight, this is for him.” Little did he realize few in the audience knew who he was talking about as he sang the acoustic-guitar-drive “Runaway Horses,” a song that sounds nothing like a Bright Eyes song.
After about 75 minutes, they closed out their set with another fan favorite, “All These Things That I’ve Done,” where the crowd sang along to the repeated line, “I’ve got soul but I’m not a soldier.” OK. Instead of a typical encore, the set ended with about five minutes of low-end hum and smoke from smoke machines.
I stood in the back, taking it in, when a short, young, bearded guy came up to me and asked, “Did they do ‘Brightside’ yet?” I said I didn’t know. He shook his head and walked off before I could add, “because I have no idea what that song is.”
The band then came back for the visually homo-erotic “The Man,” followed by, you guessed it, “Mr. Brightside.” And Bamf! more confetti! And there you have it. I walked out to the patio and escaped into the night. All in all, a big success for Steelhouse. I’m looking forward to going back to see a band that I actually want to see. Now if they would only book one.
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Speaking of standing-room shows, there’s one tonight at Reverb Lounge. Quirky ‘90s-era surf rock act Man or Astro-Man? headlines a four-band bill that includes the always-amazing Solid Goldberg. Also on the scorecard are laughingthrush & B.Sonnier. $28, 8 p.m.
If you’re wondering what those searchlights are all about downtown, tonight is the big Grand Opening of Steelhouse Omaha, 1100 Dodge St., featuring alt rock band The Killers. The concert literally sold out in minutes and I’ve yet to talk to anyone who was able to buy a ticket.
That said, I’ll be at Steelhouse tonight, courtesy of the band’s publicist (if all goes well at Will Call). No photo pass, so something tells me we’re going to see some sort of “no photography” policy tonight as the publicist said he’ll provide photos for use with the review after the fact. Still, I’ll try to capture the evening as best I can with my iPhone.
I interviewed Omaha Performing Arts President Joan Squires and Erika Hansen, who is responsible for booking Steelhouse, for an article that appears in this month’s issue of The Reader. That story, which is online here, covers booking policies, including the decision to use Live Nation and Ticketmaster as exclusive booking and ticket agents. It also addressed The Killers ticket sales situation and lots of other stuff. I’ve also posted the article at the end of this post (captured for posterity’s sake).
As a fan of modern indie music, I’m keeping my fingers crossed Steelhouse will book at least one show a month that will coax me into buying a ticket. Two shows a month would be gravy. But I’m not naive. I know that indie music is a niche genre, and while it’s wildly popular along the coasts and in large cities, I’m not so sure how popular it is in Omaha these days. Instead of Book It and They Will Come, the story’s headline should have been Book Acts that will Bring Them In.
I thought, being a non-profit, that Steelhouse and O-pa could take more risks on acts that are breaking through in other parts of the country — really introducing them to the Omaha area — and that profitability would come second to cultural enrichment. We’re talking bands that would draw 300 instead of 3,000. Squires added some clarification:
“We have to raise money every year as a nonprofit organization so I don’t take that as a given that we don’t still have to watch our bottom line just like everybody else,” she said. “We do have a responsibility to make sure we are being fiscally responsible. We want to make (Steelhouse) the right experience and the right fit. Those bands would not be a great fit for Steelhouse because you’ve got a small band and a small audience and you sit in a space that could have 3,000 people. It is not the kind of scene you want for either the artist or the audience.”
Let’s face it, no one want to play in front of a mostly empty auditorium.
Hansen did go on to say that the venue is flexible and there are adjustments that can be made for certain acts. For example, the upcoming Elvis Costello concert will be a seated event with chairs and a capacity of 1,500 total.
“3,000 isn’t always a success measure,” Hansen said. “It might be a band that would be a thousand and that’s great and that’s a success. So the capacity of the venue is not a measurement of success.”
Both Squires and Hansen pointed to the future. Although many of the shows currently scheduled for Steelhouse cater to an old(er) crowd, both said those shows don’t represent what will eventually be booked at Steelhouse. Hansen said, essentially, what ’til you see what they have booked for this fall. Their October already is mostly booked.
If you want to check out Steelhouse, the venue is hosting a free Open House on Sunday. It will include tours and a performance by the Central High School Jazz Band, Nebraska All-Star Rock & Roll Band, Omaha Girls Rock, Salem Baptist Church Choir and Enjoli & Timeless. For more info about this and other community events, as well as the latest concert lineup, go to steelhouseomaha.com.
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OK, what else is going on this weekend?
Tonight over at art-space Project Project, 1818 Vinton St., it’s Noisefest, featuring 20 “local and touring noise musicians,” including from Omaha: Lonnie Methe, Dereck Higgins, Alex Jacobsen, Cole Kempke, Smith & Jensen, Bovinae, and Quiz The Machine Elf. I don’t know most of those acts, but you might. The full list of performers is here. This free show starts at 5 p.m.
Meanwhile, downtown at The Slowdown tonight, Omaha rockers Garst is hosting its album release show with punk super-group Bad Bad Men and BB Sledge. 8 p.m., $12.
Tomorrow night (Saturday), Matt Whipkey is playing two shows at The Jewell in celebration of the release of his new album Gummi Soul: Another Rubber, his reimagining of The Beatles’ Rubber Soul album. The performance will include a reunion of Whipkey’s band The Movies and special guests including the incomparable Stephen Sheehan of Digital Sex and The World fame, and newcomer Kristen Buell. Expect a mix of the Beatles songs and Movies chestnuts. Two shows: 6:30 and 8:30; $15.
That’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
With Its Opening May 12, Steelhouse Hopes to Put Omaha Back on the Tour Map
By Tim McMahan
Everything about the new Steelhouse Omaha music venue, operated by Omaha Performing Arts (O-pa), will be state of the art — the lights, the sound, the overall experience. The 3,000-capacity downtown venue, which is designed for standing concerts (mostly, there are also balcony seats), will celebrate its opening night May 12 with a performance by alt-rock band The Killers, a show that, despite its $75-plus ticket price, sold out in minutes.
The quick sellout proves more important than state-of-the-art facilities is booking quality acts. Last January, O-pa President Joan Squires was interviewed by local media saying one of the project’s motivations was to attract young patrons, specifically between the ages 18 and 45. “The entire venue is going to be an experience that will really help this city attract people this age,” she was quoted as saying.
I was a little bummed. After all, I’m in my mid-50s, well outside that target range. I envisioned a constant stream of TikTok-style pop acts playing in front of a huge, squirming crowd of squeaky-clean youngsters, all holding up cell phones for one giant Instagram moment.
However, after a few weeks of Steelhouse show announcements, it turns out I might be at the lower end of the target age. Among the acts announced so far: ’90s alt-rock legends Counting Crows, hair-metal bands W.A.S.P and Cinderella’s Tom Keifer, ’70s funk icons Parliament Funkadelic, 68-year-old singer/songwriter Elvis Costello, and The Flaming Lips performing an album released more than 20 years ago. In fact, all the above performers’ heydays were more than 20 years ago.
Oh, it’s not all legacy acts. Steelhouse is also hosting “fresh” hip-hop performer $not (pronounced Snot), Japanese novelty Babymetal and indie darlings Fleet Foxes, whose breakthrough debut was released 15 years ago, but that’s it for new-ish artists. So, what exactly is the venue’s booking strategy? Squires and Erika Hansen, director of booking for Steelhouse, said these early bookings are just that: early bookings.
“We’re just starting, Tim,” Squires said. “We’re certainly going to continue to move in a younger direction. This just happens to be who’s got opportunities to come to Steelhouse right now.”
Hansen, 48, who hails from Sioux City and has been booking gigs for 20 years, agreed, saying booking summer months was a challenge, because many acts had already been booked for festivals and outdoor gigs. “Not that this lineup is anything to be down about,” she said, “but it is a different type of crowd that we’re probably looking at for the first few months, and then we’re really going to start to get into the diversity that we’ve been talking about. If I showed you everyone who’s holding dates at Steelhouse, it’s a much different look than what you’re seeing right now on sale.”
Working with Live Nation
To power booking efforts, Steelhouse via O-pa signed an exclusive contract with Live Nation, the country’s largest concert promoter. “We felt they could work with us to ensure we get bands as they route them across the country,” Squires said, pointing out Omaha falls in the gap between Denver, Chicago, Kansas City and Minneapolis.
Headquartered out of Beverly Hills, the publicly traded company boasts “bringing 40,000 shows and 100-plus festivals to life” per year and works with just about every successful pop artist, from Alice Cooper to the Zac Brown Band.
Hansen said she’s in contact with Live Nation multiple times a day. “They definitely will suggest artists they know are touring that they think might be a good fit for Omaha and will work with the venue space,” she said. “It’s a two-way street, though. We definitely have suggested to them, ‘Hey, can you check out this artist or can you look for more artists that are within this genre and see who’s out there?'”
Steelhouse’s real goal isn’t putting on shows that target a specific age group. “(Steelhouse) was built with philanthropic dollars and really is open to everybody,” Squires said. “The target is to attract the bands that have been missing our city because there was no venue of this size.”
“We are absolutely looking at artists that have never played Omaha before or that maybe have played much smaller venues in the market and are now getting to the size where they could fill a venue like Steelhouse,” Hansen added. “I think the purpose is really to add to the music scene in general in Omaha. We want Omaha to be a destination for artists so that all of the agents looking at tour stops think of Omaha as a hot music scene.”
Building awareness is one of the challenges. Squires said Hansen and Live Nation have been busy telling agents and artists that there’s a new kid in town. “Part of it is just getting the word out,” she said. “And the more we book, the more we’ll book.”
What about Indie Music?
As an indie music fan, I had to ask if the venue’s 3,000 capacity will prevent booking important up-and-coming indie artists who draw fewer than 1,000. Squires said the space may not be appropriate for those shows, which would be a better fit for small O-pa-operated venues like the Holland Music Club. However, Hansen said Steelhouse is flexible and has options, including the use of retractable risers.
“We’re playing with the space,” Hansen said. “I think we will be able to do some smaller shows in there and make it feel full and really cool for the artist and the fan.” But, “we’re not wanting to step on anyone else, either. If some other venue in Omaha has a great opportunity to book a show and it’s a better fit for their room, by all means.”
What about local acts? I suggested local bands could be great openers for larger touring acts. O-pa has done this in the past. Local singer/songwriter Matt Whipkey, for example, opened for the band America at the Holland Center last year. Hansen said artists typically decide who will open their shows, not the promoter, but “if there’s an opportunity, we’ll absolutely do that.”
Ticketmaster ‘the right choice’
I couldn’t let them go without talking about Ticketmaster, a subsidiary of Live Nation that has been embroiled in controversy concerning ticket-selling practices. Just ask Taylor Swift, who appears to be fighting a one-woman battle against the company. Squires said it was O-pa’s decision to use Ticketmaster because “we felt Ticketmaster was the right choice for the marketing, for the fans, for the experience.”
The almost immediate sellout of The Killers concert left many fans venting their frustrations on social media. Squires said they expected a very quick sellout because The Killers play 20,000-capacity arenas. “We were sorry people were frustrated,” she said. “It was a demand question. We just hope people will stay with us to come back and try something else.”
“I think sometimes Ticketmaster takes kind of a rap for ticketing issues in general,” Hansen said. “Demand is always going to be a problem if you have an artist that has a demand that’s greater than the number of tickets available. That’s not necessarily a Ticketmaster thing.”
Squires and Hansen were both eager to hear my list of bands I’d like to see play Steelhouse, a list that includes Lana Del Rey, Yo La Tengo, Shame, Gorillaz, Boygenius, Yeah Yeah Yeahs, Alex G, M83, The Strokes, Beck, Angel Olsen, Wet Leg, Everything But the Girl, Ladytron and Nation of Language — all touring acts that as of now do not have Omaha as a stop.
They promised to share the list with Live Nation. They’re looking for your suggestions, too. You can provide them by following Steelhouse on social media, the best place to see the latest announcements.
“This is going to evolve,” Squires said of Steelhouse Omaha’s bookings. “We’re just getting open. We’re going to continue to reinvent and reevaluate. It’s going to keep moving.”
Over The Edge is a monthly column by Reader senior contributing writer Tim McMahan focused on culture, society, music, the media and the arts. Email Tim at tim.mcmahan@gmail.com.
Way back in 2016, I went to a show at the now long-defunct Milk Run featuring a Sub Pop band called Arbor Labor Union. Milk Run was a venue located around 20-something and Leavenworth that was the size of a large walk-in closet. Despite its size, they put on a number of interesting shows in their tiny lifetime.
I left that show back then with a copy of Arbor Labor Union’s Sub Pop debut and a premonition that they could maybe one day be huge, and I could say I saw them play first at the closet-sized Milk Run.
Well, seven years later, Arbor Labor Union is no longer on Sub Pop, but still exists (in fact, they released a new album in January on Sophomore Lounge Records), but they’re not the huge hit I thought they could be.
So, here we are in 2023 and along comes Deeper, who played last night at Reverb Lounge. The band recently released a single on Sub Pop – their first with the label — after receiving accolades from Pitchfork about their previous album released on Fire Records. I hadn’t heard of them before this show, but, hey, they’re on Sub Pop, so… Any time any Omaha club hosts a traveling indie band that’s on a recognizable, nationally distributed indie label, I’m going to try my darnedest to catch their show.
Deeper was musically everything I’d hoped they’d be – a solid post-punk band clearly influenced by Joy Division / New Order with a modern, chiming guitar sound in line with an act like Preoccupations, which they’ve been compared to. I was also reminded of early French Kiss guitar bands and acts from my youth, like Manishevitz.
Frontman/guitarist Nic Gohl has a throaty vocal delivery that sort of sounds like David Byrne during his weirder moments, barking out lyrics that, unfortunately unlike Byrne (who is a great enunciator), were impossible to understand. The basic formula for most songs was drummer Shiraz Bhatti creating a throbbing beat to be joined in with a groovy bassline from Drew McBride, a repeated acidic guitar riff by Mike Clawson and then in comes Gohl with his own guitar part and his distinctive bark. As the songs went on, they locked into a hypnotic groove, with Clawson occasionally adding a New Order-ish synth line.
Very cool stuff, but they’re one of those “stand up there and play” bands, which was enough for the 50 or so in the very young crowd (likely there to see the openers and sticking around for the headliners). Arbor Labor Union’s performance back in 2016 was pretty much the same – stand up and play – and that’s fine because like Deeper, their music, played with extreme precision, carried the day.
Still, I have to wonder if I just saw a band on the verge of becoming huge or another Arbor Labor Union, who will be around in seven years, but on a different label doing different things somewhere far away from Omaha.
Frank Kozik, who it was announced yesterday passed away last Saturday at the age of 61, was the seminal concert poster artist who captured an era with his colorful style. I only know him through his work, which includes a poster that’s in a lot of Omaha practice spaces, music rooms and (in my case) home offices.
Tim Moss of the band Ritual Device gave me the above Kozik-designed poster after I interviewed his band at his mid-town home located around 48th St. in Dundee in support of the show it promoted. Listed on the poster are many of the bands that defined that era in Nebraska music, which would be so influential in the coming years. What a show that was. What a poster.
Goodbye, Frank, and thanks for the fluorescent memories.
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Yesterday Bright Eyes announced the third wave of releases as part of their ongoing “Companion” project. Cassadaga, The People’s Key and Noise Floor (Rarities 1998-2005) will be reissued by Dead Oceans on June 16. In conjunction with each rerelease will be the release of a Companion EP with new recordings. Each companion contains six or seven songs that include new versions of songs on the source album as well as covers, like the one below of Prince’s “When You Were Mine,” and artist contributions from Johanna and Klara Söderberg of First Aid Kit, Gillian Welch and Alynda Segarra of Hurray for the Riff Raff. Preorder here.
For me, Cassadaga, released in 2007 by Saddle Creek Records, was the last seminal Bright Eyes album and stands right up there among their best, while People’s Key, released in 2011, would end up being the last BE release on Saddle Creek. The band continues to tour supporting these rereleases and their last original LP, Down in the Weeds Where the World Once Was, (2020, Dead Ocean).
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Tonight at Reverb Lounge Chicago band Deeper headlines. The band recently signed to Sub Pop, who released their debut single on the label, “Sub,” last month. Joining them tonight are two Omaha up-and-comers, Bad Self Portraits and Pagan Athletes. Not bad for a Wednesday night. $15, 8 p.m.
It starts tonight with Benson First Friday (#BFF), featuring a world of art all along Maple Street. If you’re going, stop by Ming Toy Gallery 6066 Maple St., and check out the opening for John Dennison featuring nearly 30 of his amazingly weird stoneware masks. Hours are 6 to 9 p.m. Pop in and say hi.
Afterward (if it’s late) head on down to The Sydney in Benson for a three-band bill featuring Omaha electronic psychobilly legend Solid Goldberg a.k.a. Dave Goldberg, whose one-man show is a work of art. Also on the bill is Omaha trip-hop act ZUNEG and the Doom Choir and Chicago’s Baron Von Future. $10, 9 p.m.
Another show tonight, this one with a Cinco de Mayo flair, is a five-band bill headlined by Las Cruxes with bands Glue, Trees with Eyes, Kansas City band Oxytoxin and Frog is in the Rain. They’re calling it Cinco de Mayo at Razor Wire Productions, 1808 Vinton Street. No cover, but donations suggested. All ages, with the first band starting at 6:30 p.m.
Saturday night it’s back to fabulous O’Leaver’s for David Nance and Mowed Sound. Nance is hands down the best psych garage rock band from ‘round these parts. He releases his stuff on Trouble in Mind Records, and will be opening for label mates En Attendant Ana, an electric folk rock band from Paris. Not to be missed. $10, 9 p.m.
Also Saturday night, our indie rock friends from the PNW, Built to Spill, return to The Waiting Room. They’re out touring When The Wind Forgets Your Name, their 2022 self-release LP that’s a real return to form for a band that’s been kicking around for a couple decades. Opening is Albuquerque quartet Prism Bitch and Spokane punk glammers Itchy Kitty. That’s a lot of rock for $30. Starts at 8 p.m.
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Hey, did I mention it’s also Bandcamp Friday? This is the best day to buy music online from your favorite artists because Bandcamp is waiving their fees (and some labels do, too), which means all the money goes to the artists. Here are my “picks of the litter” of local releases for consideration of your hard-earned rubles:
Matt Whipkey is back with a tribute to The Beatles’ Rubber Soul album called Gummi Soul: Another Rubber. Backed by members if his old band, The Movies, Matt has created a complete “reimagining of every song from the Beatles iconic 1965 LP.” Among them, the track below, “Michelle,” mixed by Stephen Hague (producer of Pet Shop Boys, Pere Ubu, New Order among others) and featuring Omaha legend Stephen Sheehan (Digital Sex, The World, Between the Leaves) on lead vocals. Pre-order here, and check out the album release show next Saturday at The Jewell.
The man who needs no introduction, Dereck Higgins, is joined by trumpet player Blake DeForest and guitarist Cubby Phillips on The Muse, a 15-track jazzy, ambient journey that during its quieter times reminds me of Pat Metheny. Buy the CD here.
Not local, but with local ties — No Coast is a record label run by former Omahan Bobby Hussy. His new project is called Wristwatch, and they’re dropping their new album, II, next week. You can preorder it here.
That’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
The May issue of The Reader is out and in its pages is my column that features an interview with Omaha Performing Arts President Joan Squires and Steelhouse booking director Erika Hansen.
The lengthy article covers a wide range of topics, including their recent legacy-act bookings and how they fit into one of their missions of bringing younger people downtown, why they chose Live Nation as their exclusive promoter, their thoughts on Ticketmaster, fan discontent over The Killers quick sell-out, using local acts as openers and the options for booking touring indie acts. And more.
The interview took place late last month via Zoom and I decided to put the story online now since people would be buzzing about last night’s insider Steelhouse sneak preview. There’s more to the interview than made it into the article, and I intend to put a bow on the story sometime next week in Lazy-i. Until then, here’s the story…
I have no idea how they determine when a show is “sold out.” One assumes they keep count of the ticket sales and when they reach a certain number, that’s it. They must have reached that number Friday night for The New Pornographers show at The Waiting Room because it sure felt packed in there. I can’t remember a show more packed with people, and yet, when I checked the website or looked at the front door, there was no indication the show had sold out.
So crowded that once inside there was no where to go except the corner of the bar right in front of the door, where I got my usual tallboy of Rolling Rock, and then somehow squeezed through the crowd while opening band Wild Pink finished their set. Part of the crowding on this side of the bar was due to a huge, long table set up next to the booths where people were handing out Amnesty International literature. I stood next to it, looking like one of the volunteers, though no one asked me any questions about human rights violations.
The cramped crowd seemed to ease a little when Wild Pink wrapped things up, and I was able to make my way to the sound board area, where I found a cubby space that would be my home for the next two hours. The New Pornographers came on stage at around a quarter after nine, opening with “Marie and the Undersea,” from their new album Continue as a Guest.
The seven-piece band was fronted by Neko Case, looking more and more like a middle-aged Stevie Nicks, and Carl Newman, who is starting to resemble a short version of Steve Martin. Whenever I see Neko sing I want to run on stage and lower her microphone because it always looks like she’s stretching to sing into it. I guess that’s her style. Maybe it was the mix, but she sounded a bit lost early in the set but hit her stride five songs in singing the band’s first single, “Really Really Light.”
From there it was just another New Pornos show, albeit without Dan Bejar, who I guess is now dedicated full time to Destroyer. The standouts to me was the addition of tenor sax player Zach Djanikian, who added some great solos and fills throughout the set, and the always fetching Kathryn Calder on support vocals. If the band seemed a bit laid-back maybe it was because of the laid-back nature of this enormous crowd – a mix of older folks with what looked like their kids — who spent the set standing and staring at the band, nodding their heads to the beat.
Halfway through, the band announced it was trying a song they’d never played before. “Let’s see how this goes,” Newman said (Case and Newman chatted calmly between the songs like a couple of NPR hosts doing a podcast). The song, btw, was “Bottle Episodes,” also from the new album. The band wrapped up the set with a fine version of “Whiteout Conditions,” before leaving and coming back for a 4-song encore that closed with “The Bleeding Heart Show” — how they’ve been closing all their shows on this tour.
So, a 90-minute concert, well played as per usual. When I think of New Pornographers I think of an era in indie music dominated by them, Belle & Sebastian and Yo La Tengo — all acts that continue to thrive 20 years or more after their debuts and who no doubt have been instrumental in helping launch other bands. Case and Newman mentioned this from stage, talking when My Morning Jacket and Vampire Weekend opened for them, and jokingly adding they were happy to give those guys a break.
Las Cruxes at O’Leaver’s, April 29, 2023.
Late on Friday, O’Leaver’s announced a last-minute show Saturday night with San Diego indie act Crocodiles. The band has been around since 2008, created by Brandon Welchez and Charles Rowell out of the ashes of punk bands The Plot to Blow Up the Eiffel Tower and Some Girls. They’ve got a number of releases on Fat Possum Records. and band members have played with a number of other bands, most notably Dum Dum Girls (Welchez apparently was once married to front woman Kristin Kontrol) and Cat Power.
Before they went on, local punk band Las Cruxes played a set as three-piece rather than their usual crowded stage of musicians. I have no idea if this is their new permanent line-up or a one-off thing, but I really dug the set. Eduardo ‘Yayo’ Trujillo was backed by a drummer and bassist and played a number of songs off their upcoming album, all sung in Spanish and at times sounding like a cross between The Pixies, Galaxy 500 and Luna. At the best moments, the band rolled on longer numbers where Trujillo would rip on guitar solos, backed by that tight rhythm section, the bass really leaning forward on these songs. Just a great set of rock music.
Crocodiles at O’Leaver’s, April 29, 2023.
After much sound checking to fix an errant bass drum that was feeding back through the PA, Crocodiles ripped into their set. I’ve only heard a couple songs online from their Bandcamp page. Frontman Welchez was in fine form playing as if in front of a 1,000 people instead of fewer than 20. This is one of the tightest bands I’ve seen in awhile and they sounded great on O’Leaver’s “stage.”
Where else can a band introduce themselves between songs and order their after-set dinner? Welchez ordered chicken strips, the guitarist had wings; the bass player, a burger to go and the drummer, tequila.
It’s been awhile since I’ve said this, but it was another fantastic night at O’Leaver’s. And while there’s no question they’ve gone all-in on the restaurant side of things (a new flat screen monitor has been placed above the booths by the stage that constantly shows a rotation of burgers, fries and other menu items), the Club hasn’t lost sight of its heritage as one of Omaha’s premiere hole-in-the-wall performance spaces. So much so that they’ve got a David Nance show booked for this coming Saturday and I’m told will try to book at least a couple shows a month moving forward. Hear! Hear!
My bit of advice to you, the indie music fan: If you have a chance to go to a show when it’s happening, you better go. It’s no secret that, despite having more music venues than ever, fewer indie rock tours are coming through Omaha these days. If you don’t go to one of them happening tonight, who knows when you’ll get another chance.
Tonight’s pretty loaded for shows. The best of the bunch is at The Waiting Room where The New Pornographers return. The band’s latest, Continue as a Guest, is their Merge Records debut and includes contributions from A.C. Newman, Neko Case, Kathryn Calder, John Collins, Todd Fancey and Joe Seiders. New Pornos regular Dan Bejar only provides “co-writes” on this one, which means you won’t be seeing Bejar on stage with the band tonight.
Opening the show is dreamy NYC band Wild Pink, whose latest LP, ILYSM, was released last October on Royal Mountain. Really pretty stuff that reminds me of Nick Drake or early Iron & Wine. 8 p.m., $35.
Also tonight, Brooks Nielsen, former lead singer to So Cal indie band The Growlers, headlines tonight at The Slowdown. The Growlers was one of the surf bands caught up in the whole Burger Records controversy in 2020. Nielsen’s solo work is more synthy but still has some sunset California touches. No opener listed. Starts at 8 p.m. in the big room. $35.
Meanwhile, down at The Sydney in Benson tonight (Friday), Specter Poetics headlines a show that also includes New Obsessions and Jeff in Leather. $10, 9 p.m.
As for the rest of the weekend, well, like I said, get it in tonight because who knows when you’ll get another chance to see a live indie music. Have a great weekend!
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